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Second "Design Recharge" Interview: April 1, 2015In this second interview with Diane Gibbs at "Design Recharge" we focus on International Fake Journal Month. If you're wondering just what that is, I give a great description of it, and why you might want to participate. Also check out our earlier interview (below on this list) if you want more information about how I approach visual journaling.

First "Design Recharge" Interview: February 12, 2015Diane Gibbs of Design Recharge interviewed me for International Fake Journal Month (2015). We get a little side tracked and talk a lot about sketching, visual journaling, and my creative process. It's a great interview.

Where Is Roz Blogging?

Podcasts with Roz

Danny Gregory and I Discuss Visual JournalingSadly a two part podcast from May 2008 made with Danny Gregory, author of "An Illustrated Life," is not currently available. We talked about journaling, art media, and materials…If this becomes available again in the future I will let you know.

Finding Bits of TimeRicë Freeman-Zachery, author of "Creative Time and Space," talks to me about finding time to be creative. (Taped October 23, 2009.)

July 05, 2013

One More Look at the Gelli Arts Printing Plate

Left: Another page from my 2013 fake journal in which I did a lot of work with the Gelli Arts Printing Plate. Click on the image to view an enlargement.

To further support my demo June 26 I have been posting a couple pages from my 2013 fake Journal. You can see this complete journal and more info on my work with this tool at the Official International Fake Journal Blog.

I've only printed one page of each spread because this journal was too large for my scanner (about 9 x 12 inches) and I couldn't get a full page on the scanner, let along the full spread.

Next week I hope to post some of the stuff that I printed during the demo, but in the meantime I thought this image would reinforce the working method I discussed in Wednesday's post.

Left: The same page showing callouts that are discussed in the text below. Click on the image to view an enlargement.

To recap, work on the backgrounds in this journal were done in spare moments well in advance of any journaling on the page.

A: cleaning paint off a brayer I have craved a design into.

B: remnants of a blue Gelli Arts Printing Plate (GAPP) print. Here I'd used the plate as a stamp. You can see A is in two places, as it was all over the page and is only barely visible on the right, but on the left, in the face it is clearly visible. All this is one printing.

C: Collage scraps top and bottom of the page—painted paper that was printed on with the GAPP.

D: Sketch of a friend who has a really cool nose (and personality). The sketch was made directly onto the page with the Pentel Aquash Brush Pen with Light Black Pigmented ink. (Sorry they don't have a simple name for it.) I used a photograph as a reference and put the photo up on my computer screen and sat back and sketched from it—as I didn't want to use my breakfast meeting time with my friend to sketch. And frankly even this early in the month the book was getting too heavy and cumbersome to take out of the studio routinely.

E: Painted with acrylic paint, the same lavender from the carved brayer "cleaning," around the face image to help isolate it more clearly.

F: Stamping with an office stamp and then a message stamp.

G: Stenciling within the collar of her shirt with Brilliance Rubberstamp ink.

Comments

One More Look at the Gelli Arts Printing Plate

Left: Another page from my 2013 fake journal in which I did a lot of work with the Gelli Arts Printing Plate. Click on the image to view an enlargement.

To further support my demo June 26 I have been posting a couple pages from my 2013 fake Journal. You can see this complete journal and more info on my work with this tool at the Official International Fake Journal Blog.

I've only printed one page of each spread because this journal was too large for my scanner (about 9 x 12 inches) and I couldn't get a full page on the scanner, let along the full spread.

Next week I hope to post some of the stuff that I printed during the demo, but in the meantime I thought this image would reinforce the working method I discussed in Wednesday's post.

Left: The same page showing callouts that are discussed in the text below. Click on the image to view an enlargement.

To recap, work on the backgrounds in this journal were done in spare moments well in advance of any journaling on the page.

A: cleaning paint off a brayer I have craved a design into.

B: remnants of a blue Gelli Arts Printing Plate (GAPP) print. Here I'd used the plate as a stamp. You can see A is in two places, as it was all over the page and is only barely visible on the right, but on the left, in the face it is clearly visible. All this is one printing.

C: Collage scraps top and bottom of the page—painted paper that was printed on with the GAPP.

D: Sketch of a friend who has a really cool nose (and personality). The sketch was made directly onto the page with the Pentel Aquash Brush Pen with Light Black Pigmented ink. (Sorry they don't have a simple name for it.) I used a photograph as a reference and put the photo up on my computer screen and sat back and sketched from it—as I didn't want to use my breakfast meeting time with my friend to sketch. And frankly even this early in the month the book was getting too heavy and cumbersome to take out of the studio routinely.

E: Painted with acrylic paint, the same lavender from the carved brayer "cleaning," around the face image to help isolate it more clearly.

F: Stamping with an office stamp and then a message stamp.

G: Stenciling within the collar of her shirt with Brilliance Rubberstamp ink.